DOI: 10.1057/9781137447210.0001 Hogarth s Art of Animal Cruelty
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Hogarth s Art of Animal Cruelty: Satire, Suffering and Pictorial Propaganda Piers Beirne DOI: 10.1057/9781137447210.0001
Piers Beirne 2015 Softcover reprint of the hardcover 1 st edition 2015 978-1-137-44720-3 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6 10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978 1 137 44721 0 PDF ISBN: 978-1-349-49621-1 A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. www.palgrave.com/pivot doi: 10.1057/9781137447210
DOI: 10.1057/9781137447210.0001 For Sibyl Mary Burls (1881 1972)
Contents List of Figures Preface and Acknowledgements vii viii 1 Introduction 1 2 Seeing Hogarth s Animal Images 10 3 Hogarth s Four Stages of Cruelty: [T]o Reform Some Reigning Vices Peculiar to the Lower Class of People 44 4 After Hogarth 99 Bibliography 108 Index 123 vi DOI: 10.1057/9781137447210.0001
List of Figures 2.1 William Hogarth, Hudibras Encounters the Skimmington, 1726 12 2.2 William Hogarth, The South Sea Scheme, 1721 21 2.3 William Hogarth, The Artist: Self-Portrait with His Dog Trump, 1745 28 2.4 William Hogarth, Strolling Actresses Dressing in a Barn, 1737 30 2.5 William Hogarth, The Bruiser, 1763 33 2.6 William Hogarth, The Cockpit, 1759 38 3.1 William Hogarth, The First Stage of Cruelty, 1751 45 3.2 William Hogarth, The Second Stage of Cruelty, 1751 46 3.3 William Hogarth, Cruelty in Perfection, 1751 46 3.4 William Hogarth, The Reward of Cruelty, first state, 1751 47 3.5 William Hogarth, The Reward of Cruelty, second state, 1751 77 DOI: 10.1057/9781137447210.0002 vii
Preface and Acknowledgements Hogarth s Art of Animal Cruelty: Satire, Suffering and Pictorial Propaganda lies at the intersection of art history, human animal studies and green criminology. Its focus is The Four Stages of Cruelty, a series of four extraordinary prints produced and circulated by Hogarth in early 1751. It asks: How did Hogarth see animals? What did he intend with his animal pictures in The Four Stages of Cruelty? How should we see Hogarth s animals? My work on this book was enabled by the generous provision of two fellowships. One was the annual Provost s Research Fellowship at the University of Southern Maine. This allowed me some release time from teaching in the 2012 2013 academic year. The other was a Visiting Fellowship during Michaelmas term, 2013, in the Centre for Criminology at the University of Oxford. This afforded me access to the unrivalled resources of the University s Bodleian Library and a warm and familiar atmosphere for reading and writing. To both institutions I am deeply grateful. I must also acknowledge the hospitality of staff at Chiswick s Hogarth House, which one rainy November afternoon afforded me a calming refuge from London s fearsome vehicular traffic. For their unfailing courtesies I am indebted to staff at several libraries. Among these, in particular, are those at Oxford s Ashmolean Museum of Art and Archaeology; the Bodleian Library at the University of Oxford; the British Library; the Glickman Library at the University of Southern Maine; the Law School Library at the University of Maine; the Hawthorne-Longfellow Library at Bowdoin viii DOI: 10.1057/9781137447210.0003
Preface and Acknowledgements ix College and the Library of the London School of Economics and Political Science. Several colleagues and friends deserve special mention for their advice on various aspects of the drafts of this book. For generosity with their time and expertise I am most grateful to Lucinda Cole, Willem de Haan, Ray Michalowski and Bernd Krysmanski. My good friend Maurice Herson put me up and put up with me for several months at his home in Oxford. Julia Willan, my commissioning editor at Palgrave Macmillan, was a constant source of encouragement, as also was her newlypromoted assistant Harriet Barker. Simon Beirne, Lauren Hrubowchak and Jill Jordan-MacLean each used great patience in assisting me with image assembly. Kathy Bouchard worked with great skill and stamina on the index. In the end, I alone am responsible for whatever errors still remain. Much of this short book was written in early 2014, the year that marks both the 250th anniversary of William Hogarth s death and also the anonymous publication of Dei delitti e delle pene, Cesare Beccaria s famous Enlightenment treatise on the administration of criminal justice. Parts of Chapter 2 are revised versions of my essay Hogarth s Animals, which appeared in the Journal of Animal Ethics, 2013, 3(2): 133 62. [Used with permission of the University of Illinois Press, copyright 2013 by the Board of Trustees of the University of Illinois.] DOI: 10.1057/9781137447210.0003